GATHERING CUTLINE INFORMATION

There is no secret formula to gathering cutline information. However, there are certain practices you should follow that will allow you to write effective cutlines after you return to your office. These practices are covered in the following text.

How to Record Cutline Information

Cutline information maybe recorded in a notebook or a locally designed "caption log." A caption log may serve as a handy reminder of what information you should record An example of a locally designed caption log is shown in figure 9-14.

What Cutline Material Is Recorded

When you gather material for cutlines, you generally use the same methods and techniques as for gathering information for a news story. The major difference is that you do not need as much information, but it must be pertinent to the scene in the photograph.

The following are a few points to consider before you write a cutline:

What is the storytelling value of the photograph?

Is the photograph intended for internal or external use? (Photographs for civilians may need more information.)

Will the photograph be released to a hometown paper? If so, you must include a hometown tie-in.

Will the photograph be used alone or with a story?

With these basic considerations in mind, try to stick with the old but reliable five Ws (and H) when you gather cutline material. Find the answers to the most pertinent questions, and you will have more than enough information to write your cutline.

WHO. - Identify people in the photograph by rank full name, title, hometown, and so forth. Also note relative positions of people in the photograph when there are more than one and if it is not obvious who is who by action, age, gender or rank Sometimes it is helpful for you to note the clothing or physical characteristics of the people being photographed. Keep in mind that when you or your photographer use black-and-white film, it will do little good to note "yellow T-shirt" or "red dress" on the caption log.

However, such notations as "Mets T-shirt," "sunglasses" or "curly blond hair" will prove helpful.

WHAT. - The "what" can apply to two areas. First, it may involve what is happening in the photograph. In the caption log, it maybe necessary to jot down a word or two to describe the action. For example, "slicing cake," "performing PMS check" or "donning EEBD."

Second, the "what" may entail equipment in the photograph. Unusual equipment often is included in photographs. The equipment should be identified. An

OBA may not require identification, but an OBA with a lifeline attached may need further elaboration. Ships and aircraft should always be identified. Never guess or suppose you know the proper nomenclature; ask an expert on the scene.

WHERE. - Make sure you record the location of the action. Write down the name or number of street names, building names or numbers, and so forth. If there are landmarks, either natural or man-made, identify them as well. These might include rivers, lakes, statues, bridges and mountains.

WHEN. - Record the time and date the photograph was taken. This is especially important for "wild" or "stand-alone" photographs that will not be accompanied by a story.

WHY. - Unless it is obvious, record why an action is taking place. Is it part of a base basketball championship or a monthly awards ceremony? As in the "when" category, this is important for photographs that will stand by themselves.

HOW. - If there are circumstances that led to the photograph being taken and they require explanation, make sure you know how they came about.

Matching Cutline Information with the Photograph

You should record cutline information by individual frame number. However, if you shoot several frames of the same subject and action, it is not necessary for you to record information each time. Simply list the range of frame numbers in which the subject appeared.

When to Record Cutline Information

Record the cutline information immediately after each shot or series of shots. Do not let subjects getaway without jotting down the required cutline information. They may be hard or impossible to track down later, and you may forget who you shot or who was doing what in the photograph.

One exception to this practice is a sporting event where it is impossible to interrupt the action. In this instance, let the subject(s) know in advance that you will be taking photographs and will need to get identification as soon as possible after the event. Note uniform numbers, clothing or physical characteristics. You also may record the information during breaks in the action.